A new book on Vanderhorst's work titled, Thirty Three years Twenty Six Paintings has also just been released. The book includes an introduction and short story, The Yacht Club by famed film director, George A. Romero Vanderhorst was one of just over a dozen artists to be awarded a
commission by the Greater Toronto Airports Authority to create an original
painting for the new Pearson International Airport. Vanderhorst's surreal style and detailed imagery appeals to collectors with an eye for art and an open mind. The bizarre imagination and attention to fine detail in the classical paintings of Spanish surrealist Salvador Dali was the initial inspiration for Robert's exploration into surrealism. His work also reflects the influence of three additional artists who he considers masters as well as mentors. The ironic and profound juxtapositions of images of the Belgian surrealist Magritte, the hauntingly mathematical and exacting graphics of M.C. Escher and the superb mastery of light and technique of Vermeer, have provided Vanderhorst with a visual and technical foundation upon which his canvases are built. "With my surrealism, I try to create imagery that makes demands and asks the viewer to participate," says Rob. "The scenes can be confusing and troublesome but still impart an odd sense of cohesion and normalcy." Highly introspective or simply there to admire, Vanderhorst's work is as thought provoking as you allow it to be. |
Nash composes and performs on electric violins, electric mandolins, drum machines, and synthesizers. He has been on the cutting edge of electronic music since the early 70s. He has also created his own independent music label, Cut-Throat Productions (a reference to his movie namesake), to retain control of his recorded output. In 1978, TV Ontario Nightmusic produced a 30-minute show called Nash the Slash Rises Again. The show presented a series of surreal paintings on the screen, gradually revealing all their intricate details to the viewer while Nash performed live. These were the paintings of Robert Vanderhorst, and he and Nash would continue their collaboration for many years. In 1983, Nash the Slash and Robert Vanderhorst collaborated on a new video project called Bombardiers, a 45-minute presentation of nine of Robert's paintings set to Nash's music. Throughout the 90s, Nash composed film scores, including the music for Bruce McDonald's hit cult films Roadkill and Highway 61. He has also composed music for several silent film classics, giving new life to such early film gems as The Cabinet of Dr. Caligari (1919), The Lost World (1925), Nosferatu (1922). Describing his music for Vanderhorst's paintings, Nash says, "There are many disconnected images occuring in the minute details. The images can be familiar yet unsettling. We both use 'classical' influences -- fine art, form and melody -- juxtaposed to misplacement, distortion, and backward imaging. My music helps to make things connect, thus enhancing the viewing pleasure." |